By now we know the marriage of Susan Tedeschi and Derek Trucks has resulted in one of finest husband & wife combos currently in music. And still the Tedeschi Trucks Band is really as much about the sum of its parts as it is about its two centerpieces. Made Up Mind helps to illustrate that point, as the band shows off its all-around skillful musicianship and a variety of songwriting combinations that help take this album to the next level.

Revelator was the first album from the Tedeschi Trucks Band. It was a merging of musical forces that ultimately led to a Grammy for Best Blues Album and proudly stood as an uplifting, spirited introduction. After a couple years together, that 11 piece all-star team now feels like family. It's tough not to look past Susan's powerful vocals, especially on defiant songs like "Made Up Mind" and the blissful "Part of Me." But then again, few (if any) guitarists these days are as imaginative, tasteful or adept as Trucks. Guitar enthusiasts will no doubt find ecstasy on blistering moments like "The Storm." And still, band members like Mike Mattison, who many remember as the frontman for the Derek Trucks Band, is still very much an active participant. And the bands horn section of Kebbi Williams, Maurice Brown and Saunders Sermons help fill the album with soul.

Diving deeper into the liner notes, Tedeschi & Trucks looked to a variety of friends to help craft these songs. Those that lend a pen include The Jayhawks Gary Louris, Eric Krasno of Soulive, legendary producer John Leventhal, and Sonya Kitchell. For Tedeschi Trucks Band the motto seems like "the more the merrier" and that joy of collaboration essentially steams their train. They make it work, and do so incredibly well on Made Up Mind.

~ Review by Mike Vasilikos
August 26, 2013Made Up Mind released August 16, 2013 on Sony Masterworks.

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Paradise Valley picks up where John Mayer’s Born And Raised left off; on the breezy, soft rock and acoustic side of the singer-songwriter street. The Don Was produced album is Mayer’s sixth studio release. Tender and yielding, melodically infectious, and deftly performed, the eleven-song collection is also a somewhat country-flavored affair.

At the heart of the appeal of Paradise Valley is the excellent musicianship and some of the strongest songs Mayer has written. What you may miss in Mayer’s rocket power electric guitar playing is more than made up with exquisite musical detail; from the pedal steel guitar playing on “You’re No One ‘Til Someone Lets You Down,” and the melodicism of Mayer’s playing on “Wildfire,” to the bluesy riffs he spits out on a cover of JJ Cale’s “Call Me The Breeze,” the songs are skillfully arranged and played. Songs like “Waitin’ On The Day,” and “I Will Be Found (Lost At Sea)” may be unassuming however they are heartfelt and gorgeous.

The album features a pair of high profile collaborations. Frank Ocean, who returns the favor of having Mayer play on Ocean’s Channel Orange, sings on “Wildfire.” At a minute and 28 seconds though, it’s too short. As usual, Ocean sounds fantastic and Mayer’s harmonies with him work well together. “Who You Love” – Mayer’s duet with his girlfriend Katy Perry - may be critically written off by some as a contrite and schmaltzy song, but it’s a classic “soft-pop” song.

On Paradise Valley, John Mayer has settled and matured more comfortably into the soft side of his voice and songwriting that began on Born And Raised. Lyrically, he’s still soul searching yet with increasing optimism. Here’s hoping though, his next outing will center him back a bit towards the more upbeat and energetic songs he’s equally gifted at writing and performing.
Released: August 20, 2013 on Columbia
Review by Bruce Warren August 19, 2013

From her distinctive voice, to a vast array of influences, and even her signature dreadlocks there's little about Valerie June that doesn't garner intrigue. From Memphis, Tennessee, June squashes expectations and dismisses genre labels with the release of her first full-length album, Pushin' Against A Stone. June has been working at her craft for some years now, self-releasing 3 EPs and lining up fans that range from Dan Auerbach of the Black Keys to producer/songwriter/musician Richard Swift and even a soul legend like Booker T. Jones. All of these men lend a helping hand on Valerie's debut, which is sure to only broaden her fan base.

Pushin' Against A Stone. is a personalized record with Valerie June offering up her stories, struggles and ambitions for public consumption. It's an honest collection, both in terms of the songs and the music. While you could consider June almost a musical melting pot of sounds, her strengths really reside in her appreciation and dedication to more traditional music, whether it be blues or folk. It's easily recognizable on songs like "Workin' Woman Blues" that starts as a sparse acoustic blues track but unfolds into a hip-shaking, horn-laden jam.

The musical magnet on the album is undoubtedly the collaboration with Auerbach. The Black Keys frontman helped produced Pushin' Against the Stone and his stamp is immediate on the infectious stomp that is "You Can't Be Told." And while moments like that beg you to hit the repeat button, make sure to find your way through Pushin' Against the Stone. Meet June's Appalachian inspiration on the lonesome "Somebody to Love" and listen as she gets sultry on the hypnotic "Wanna Be On Your Mind."

Meet the Philadelphia three-piece The Fleeting Ends. Matt Vantine, Matt Amadio and Russell Langley have been playing together for a handful of years now, concocting a powerful pop-rock blend that is undeniably infectious. On their latest full length album, Our Eyes Are Peeled, the Philly trio graduate to a new level, offering their most fully realized collection of songs to date and a perfect feel-good soundtrack to our summer.

From the opening notes of "Little People," the tempo-pushing album starter, The Fleeting Ends set the tone for what's to come on Our Eyes Are Peeled. Songs filled with youthful energy and spirit, the band harnesses newfound confidence. It's a cohesive collection that offers up a solid set of well-crafted, ear-worms like "I'm Like That," "Operator," and falsetto-laden "Critics."

Writing catchy pop songs like the ones you'll hear on Our Eyes Are Peeled is really no easy task. However, The Fleeting Ends will fool you because they make it sound so effortless. Across the board, from the orchestrations to the songwriting to the performance and production, Our Eyes Are Peeled is the perfect step forward for an exciting young band like The Fleeting Ends.

Much of the greatness of this album comes in the form of love songs and ballads, and Isbell's pairing with alt-country fave, Kim Richey on "Stockholm" is nothing short of gorgeous.

Review by Mike Vasilikos, June 27, 2013

Southeastern is the new album from singer songwriter Jason Isbell, and quite simply it's satisfying on a number of levels. First and foremost, it's an album that reflects the sober and rejuvenated lifestyle of a songwriter who for years, many had pegged with potential greatness. As a collection of songs, it's as honest an album as we've heard in quite some time and musically it's warm and comforting. With Southeastern the shadow of once being a member of the Drive-By Truckers has all but disappeared with Jason's own artistry taking center stage.

It's clear from the songs on Southeastern that the lifestyle associated with being a rock & roll musician was catching up to Isbell. That may be putting it lightly. As the story goes, with the help of his now wife & fellow musician, Amanda Shires, Jason checked into rehab sometime last year. He emerged focused and with the musical blueprint to his next album, Southeastern. He is forthright and honest about his sobriety on songs like "Cover Me Up" and reflective of his life up until his recovery on songs like "Live Oak." Yet where these songs may serve as a transitional point in Isbell's career, for long time fans they also act as a delivery on the artistic potential that we saw coming many years ago.

Maturity is another word you can confidently associate with Southeastern. The rebellious nature that just came along with being a member of the Truckers is a thing of the past. Much of the greatness of this album comes in the form of love songs and ballads. Isbell's pairing with alt-country favorite Kim Richey on "Stockholm" is nothing short of gorgeous.He and Shires play together on the song "Traveling Alone," another beautiful moment from an album that isn't at a loss for them.

Don't feel at all guilty if you miss church this weekend. Just make sure you spend a little extra time with the new album from Mavis Staples,
"One True Vine," because it's got all the soul and spirituality you'll need. The legendary voice, Mavis Staples, returned to the studio with Wilco frontman Jeff Tweedy to record this new collection. It only makes sense since their first collaboration together, 2010's You Are Not Alone, earned Staples the first Grammy of her illustrious career. That spirit and connection that emerged a few years ago was harnessed and reinvigorated in the sessions for this latest album, One True Vine on ANTI Records.

Often times the relationship between an artist and a producer can be overblown simply for headlines sake. It's easy to hear on One True Vine, as we heard with You Are Not Alone, that Tweedy and Staples have a genuine creative chemistry. In the case of any album, and specifically one with an artist like Mavis Staples, the song selection is really the key. And this is where Tweedy really earns his keep. There are a few familiar moments on One True Vine, most notably their interpretation of the classic Funkadelic hit "Can You Get To That?". And also a version of The Staple Singers "I Like The Things About Me", which may be the highlight of the album in that it almost becomes a mantra for Mavis. What makes it an even stronger collection is when you couple these recognizable touchstones with equally inspiring songs like "Far Celestrial Shores", which Nick Lowe penned for Mavis, and Tweedy originals like the ominous "Every Step" and the closing title-track.

Despite the great collaborative work of Tweedy, Mavis is obviously the star here. She could surely let her resume speak for itself at this point of her career; Rock and Roll Hall of Famer, Grammy Lifetime Achievement Award Winner, etc. But on One True Vine, she sings these songs earning every word and every note. As cliché as it sounds, she makes this songs and stories her own whether they are or not. She's a legendary voice, and One True Vine is another remarkable reminder why.

LISTEN TO THE ALBUM IN ITS ENTIRETY BEFORE ITS OFFICIAL RELEASE AT FIRST LISTEN FROM XPN AND NPR.org/music.

In so many ways Wakin on a Pretty Daze is a defining record for Philadelphia songwriter and guitarist Kurt Vile. Vile, who first gained notoriety as a guitarist for fellow Philly indie rockers The War on Drugs, has been prolific on his own for the past five years and this new studio album is a culmination of all the great potential that's been building throughout his career. Wakin on a Pretty Daze (Matador) is a collection of songs that wanders beautifully with great ease and without any restriction.

As a guitarist, Vile has developed a signature style and tone that walks a line of edginess and splendor. It's a musical footprint, a sound, that for fans has become unmistakable. And on Wakin on a Pretty Daze Vile allows himself to search and stretch sonic boundaries. The album opens with the aptly titled "Wakin on a Pretty Day" (not daze) and offers us a hazy, dreamy blanket of fuzzy guitar for just over 9 minutes. And at the end of that journey, as a listener all you want is more. Luckily, Kurt offers up just that. Songs like "Was All Talk" and the acoustic, contemplative "Too Hard" are perfect musical daydreams.

Vile does balance out the spacious and exploratory nature that consumes much of the album. He reminds us that his rock edge is still something to be reckoned with on the stand-out, "KV Crimes". And songs like "Never Run Away" and "Shame Chamber" are among the most accessible we've come to expect from Kurt. All of these songs are reasons why we'll look back at Wakin on a Pretty Daze as a breakthrough album from one of Philly's most imaginative talents.

Houndmouth, a four-piece band from just outside Louisville, Kentucky, may just be the perfect musical equivalent to a good home-cooked meal. Forget the frills and studio wizardry, this young group just sets out to have fun making music as a reflection of what they know. Their love of roots, rock and blues melts together as a rollicking good time on their debut From the Hills Below the City (Rough Trade). And what started a couple years ago as simply a group of friends making some noise together has developed into a band on the verge of an exciting career.

The chemistry of this band is striking from the opening notes of "On the Road," the snappy opening track from Houndmouth's debut. The duel vocals of frontman Matt Myers and keyboardist Katie Toupin are an immediate draw, and the groove the four create is cause enough to hit the 'repeat' button. As you work your way through From the Hills Below the City it's hard to deny the influence of acts like The Band, just listen as the chorus swells on the outlawish "Penitentiary". And yes, in terms of songs, themes of bad decisions, jail, drugs and crime weave through the album. But Houndmouth are pretty clever turning these taboo topics into irresistible moments. For instance, don't pass up "Casino (Bad Things)" which Katie takes the lead on, offering up some classic southern charm.

Truth be told, a big part of Houndmouth's rise from bar-band to SXSW buzz band has a lot to do with their engaging stage show. Rumor is they were signed right their SXSW set earlier this year. And, just this month, XPN named them as an Artist To Watch. But their rawness and their energy are ever-present on From the Hills Below the City.

Even before she released her debut album, Sing to the Moon on Columbia, the buzz and anticipation surrounding Laura Mvula was building. And it's easy to understand why after just one listen. The English singer possesses a rare charisma and one of the most beautiful voices we've heard in some while. Unlike many of the British female soul singers to emerge over the last several years, whether it be Amy Winehouse, Adele, or Emeli Sande, Mvula sets herself apart aiming not to overpower her audiences but rather to seduce them. With the songs of Sing to the Moon, her enchanting debut, she succeeds.

For many of us here in the States, the song "She" was our introduction to XPN Artist to Watch Laura Mvula. Certainly a standout moment on her first album, the song, "She" is really just an introductory point on an album that not only showcases the beauty of her voice but the range as well. Before setting her own sights on music full-time, Mvula sang with a variety musical outfits including a capella groups, jazz and neo-soul bands. Lots of that comes into play on her debut. Her ability to shift gears from strongly harmonized songs like the aforementioned "She" and "I Don't Know What the Weather Will Be" is a testament to her a capella background. And from there, the album flexes lots of creative muscle offering up moments like the handclap happy "Green Garden" perhaps the most appealing and uplifting song on the album. And not to be missed the soaring, anthemic title-track "Sing to the Moon."

From the first note of the album's opening track "Like The Morning Dew," Mvula is instantly charming and refreshing. Her artistic vision and execution is rather unique in the current musical landscape, stretching musical boundaries but always sounding accessible. And that makes Sing to the Moon one of the year's most wonderful introductions.

For well over a decade now The National have been uncompromising in their approach to music making. On their sixth studio album, Trouble Will Find Me (4AD), the Brooklyn-based band further embrace their ominous personality that seeks to find beauty though sorrow and darkness.

The band saw new heights of success following the release of their last album, High Violet, both in terms of record sales and press, and also an ever-growing fan base. With the bar set a little higher this time around, The National are seemingly undaunted of new expectations and utterly focused on harnessing their music persona.

It's clear that on Trouble Will Find Me The National are comfortable and confident in their pursuits. Brothers Bryce & Aaron Dessner whom compose most of the music for the band offer some ambitious, unconventional music timestamps on songs like "Demons" and "Humiliation." There are songs that simmer into powerfully moving moments like "This is the Last Time" and "Firefly." And of course, there are points on the album where the band purely flexes their collective muscle and offers anthemic moments like on "Sea of Love," which offers us the album's title, and "Graceless."

For as self-assured as Trouble Will Find Me is, The National rally an array of friends and fellow indie-rockers to play on their new collection. Adding to the tracklist are folks like Sufjan Stevens, Sharon Van Etten, St. Vincent (Annie Clark), and Richard Reed Parry of Arcade Fire among others. But at their core, the Dessner Brothers, frontman Matt Berninger, and Scott & Bryan Devendorf have built something unique to the five of them, and on Trouble Will Find Me, The National continue to find themselves.